Patrick Zimmerli - Songs of Innocence

Label: EMP, 2025

Personnel - Patrick Zimmerli: soprano saxophone; Kevin Hays: piano; Satoshi Takeishi: percussion.

American saxophonist Patrick Zimmerli has long given jazz aficionados solid reasons to regard him as a masterful composer and arranger. Following the spectacular quartet album Clockworks (Songlines, 2018), eight of his compositions from a 2014 suite were interpreted by the Joshua Redman Trio alongside the string ensemble Brooklyn Rider on the album Sun on Sand (Nonesuch, 2019). In 2020, he released Book of Dreams on Newvelle Records with longtime collaborators, pianist Kevin Hays and drummer Satoshi Takeishi. This same trio reconvenes for Songs of Innocence, channeling their creative energies into five original pieces partly inspired by British poet William Blake. 

Zimmerli’s rhythmically knotty tendencies come through in the edgy 11/8 tempo of “60 Morningside”, a piece referencing the red-brick house of Columbia University’s president, seen during his morning walks. His mellifluous soprano sax feels spiritually expansive during the theme and high-flying while improvising. It concludes with a folk-inspired vamp that effectively breaks up the abstraction. “Crow or Dove”, inspired by a line from a Shakespeare’s sonnet, is smooth and meditative, veiled in a warm ambience.

The festive “Wedding Song” varies in intensity, beginning with hand claps before transitioning into a rhythmically intricate medium-fast tempo. Folk and contemporary classical elements are frequent in Zimmerli’s work, also surfacing in “Torsion”, a twisty, odd-metered number with a natural flow and corkscrewing melody, entering a rhythmically vibrant nine-beat vamp before returning to its eloquent theme.

“Dreamscape”, marked by an additive septuple meter {3+4} and crashing rhythmic accents, showcases an impeccable integration of low-register piano work and percussion. It stands out as a vivid reflection of the strange, often unsettling nature of the subconscious, reaching a climax during a vamping 14-beat cycle sequence. At this juncture, Zimmerli’s soprano burns with intensity and urgency.

Zimmerli’s trio balances flowing melodies, intricate rhythms, and kaleidoscopic harmonies within clear structures. Hinting at experimental curiosity, his compositions remain consistently compelling.

Favorite Tracks:
01 - 60 Morningside ► 04 - Dreamscape ► 05 - Torsion

Zoo Too Trio - Poetry Legroom

Label: Shifting Paradigm Records, 2025

Personnel - Michael Cain: piano; Keith Price: guitar; Pheeroan AkLaff: drums.

Zoo Too Trio consists of pianist Michael Cain, a member of Jack DeJohnette’s Special Edition; Canadian-born, New Zealand-based guitarist Keith Price; and esteemed avant-garde drummer Pheeroan AkLaff, who anchored groups led by Cecil Taylor, Henry Threadgill, and Anthony Braxton. Their debut album, Poetry Legroom, reveals a deep musical connection and an introspective-leaning style that is not devoid of mystery and exploration.

The cloudless “O’Neil’s Bay” evokes majestic dawning landscapes, presented as a velvety pop/rock song, subtly jazzified by gentle harmonies. This solidly structured musing reflects the terrain the trio navigates, leading into “Poetry Legroom Okinawa Children”, where rhapsodic piano phrases of variable lengths, together with odd-meter cycles generate a sense of irregularity. Price carves his own path, while AkLaff steps forward for a transitory solo passage, orchestrating rich timbral designs from the drumkit.

Ron Blake’s “Waltz For Gwen” feels like a classic jazz number in Cain’s hands, who also appears unaccompanied in the rubato piece “Solodos”. “Song 1 Day 1” places the guitar in the lead, supported by organ and brushed drumming, channeling a mix of church/gospel tones and the soulful jazz vibes of Grant Green.

“Waxing Gibbous” unfolds as a layered triangular construction—half-dreamy, half-cerebral, yet consistently haunting and atmospheric. A four-beat guitar motif, ample cymbal washes, rattling percussion, and understated piano enclose the listener in a suspended cloud that puffs with AkLaff’s late-arriving cool beat, as well as recurrent notes and electronic frequencies. The ambient-leaning “Winter Fog Morning” doesn’t shy away from a sweet insouciance that feels wry yet unsentimental. 

Some minimalist ideas might intensify but never quite climax into new realms, as the trio indulges in a certain languidity, bringing their individual voices into ambient moods marked by a wide range of emotion. This is the kind of good-natured music that makes us feel peaceful inside.

Favorite Tracks:
01 - O’Neil’s Bay ► 02 - Poetry Legroom Okinawa Children ► 05 - Waxing Gibbous

Barry Deister Quintet - An African Suite

Label: Trans-Pacific Jazz, 2025

Personnel - Barry Deister: tenor saxophone, flute; Paul Mazzio: trumpet, flugelhorn; Randy Porter: piano; Tim Gilson: bass; Tim Rap: drums; Israel Annoh: African percussion.

Credited with past performances in groups led by vibraphonist Bobby Hutcherson and multi-reedist Anthony Braxton, Portland-based saxophonist and flutist Barry Deister takes us on a spellbinding rollercoaster ride through West African rhythms, modal structures, and exotic grooves. In An African Suite, he leads a vibrant quintet whose brash, revitalizing deliveries are boosted by the entrancing rhythmic work of Ghanaian percussionist Israel Annoh.

Capturing the sextet in its brisk, bracing romp, “Afrodite” flows with admirable energy and harmonic push and pull, recalling the spiritual modal jazz of Billy Harper (his ferocious album Somalia comes to mind). The piece starts with a riveting percussive pattern—exuding a sextuple feel—and a bass groove over which the crisp horn section of Deister and trumpeter Paul Mazzio superimpose unison melodies in 4/4 tempo. “The Tro Tro” maintains the modal mood but colors the scene with calypso tonalities, achieving a profound poise and rhythmic beauty. The intense colors and spicy flavors increase with wonderful solos by Mazzio—a sober stream of melodic tradition—pianist Randy Porter, and Deister, who navigates his tenor solo courses with a semi-opaque tone. 

“Sahara Breeze” is tempered by flute and flugelhorn melodies in a smooth 6/8 effort that includes a fine bass solo, while “Bad Juju” presents a dramatic polyrhythmic tapestry, with the habitual soloists riding the waves conjured by the rhythm section. They dig deep in “Push Me, Push You”, a snazzy, muscular setting with a celebratory Latin vibe intersected by indigenous dances from the Sahara and the Orient.

The enchantment of Deister’s five originals comes in many forms and textures, beautifully capturing his adventure in Ghana in 2006. The tunes’ emotive cores, consistently expressed with warmth and earthy sensuality, are complemented by individual discourses delivered with substance and gusto. The result, inclusive and compelling, maintains a remarkable uniformity of musical brilliance anchored in ancient roots and freedom. 

Favorite Tracks:
01 - Afrodite ► 02 - The Tro Tro ► 05 - Push Me, Push You

Arve Henriksen, Trygve Seim, Anders Jormin, Markku Ounaskari - Arcanum

Label: ECM Records, 2025

Personnel - Arve Henriksen: trumpet, electronics; Trygve Seim: soprano and tenor saxophone; Anders Jormin: double bass; Markku Ounaskari: drums, percussion.

The idea to form the notably talented Nordic quartet Arcanum emerged when saxophonist Trygve Seim, bassist Anders Jormin, and drummer Markku Ounaskari were working with Finnish vocalist and kantele player Sinikka Langeland. Seim then suggested that trumpeter Arve Henriksen join him in the frontline, an artist he knew well and had also worked with Langeland.

The music, often delicate and gentle, is strongly expressive, and Seim’s opening track “Nokitpyrt” is a testament to their fluidity and musical character. Reading backwards, the title means “Triptycon”, a clear reference to the iconic trio album by Jan Garbarek, Arild Andersen, and Edward Vesala, released in 1973. The well-delineated melody doesn’t hinder the musicians from diving further into free creation.

“Armon Lapset” is a Finnish traditional song where Jormin’s immersive sound absolutely stuns. His gorgeous melodic conduction invites the horn players into contemplation, in a cadenced folk-like mantra underpinned with abandon by Ousnakri, who knows exactly how and when to play with brittle restraint, and by Jormin himself. The experienced bassist—one of the pillars of pianist Bobo Stenson and saxophonist Charles Lloyd for several years—contributes two numbers: “Koto”, a tranquil piece showcasing his love for Japanese music, and “Elegy”, a cyclic, grief-stricken reflection written on the first day of the war in Ukraine. It features Seim and Henriksen delivering the melody side by side.

“Folkesong” hints at being a ‘song of the forest’, with Seim’s soprano sax cutting through every 12-beat cycle, moving in and out of scope with narrative purpose. Henriksen’s use of electronics is extremely tasteful and organic, enhancing the tunes. Just like the previously described track, “Lost in Van Lose” is a collective improvisation but incorporates a wee bit more of abstraction without losing any of its grace. Other improvised standouts are “Old Dreams”, where piercing trumpet wails cross the rhythmic mesh created by bass and drums, and “Fata Morgana”, whose dark undercurrent conveys more than just enigmatic quiescence. 

Another Seim contribution, “Trofast”, is a 3/4 balm that transports us to heavenly prairies. Here, the saxophonist and the trumpeter take turns, guided by a suave harmonic progression, while the quartet’s rendition of Ornette Coleman’s “What Reason Could I Give” touches on balladic erudition.

As fresh and full of promise as a spring morning, Arcanum sweeps across the smoothly explorative spectrum in a reflective mood. Fertile imagination never needed pyrotechnics, and there’s way in for casual listeners.

Favorite Tracks:
01 - Nokitpyrt ► 03 - Armon Lapset ► 04 - Folkesong ► 07 - Old Dreams

Carl Winther / Richard Andersson / Jeff Tain Watts - Steep Steps

Label: Hobby Horse Records, 2025

Personnel - Carl Winther: piano; Richard Andersson: bass; Jeff ‘Tain’ Watts: drums.

Steep Steps marks the sophomore musical collaboration of highly articulate Danish pianist Carl Winther (he worked with Jerry Bergonzi, Tim Hagans, and Walt Weiskopf), sensitive Danish bassist Richard Andersson, and iconic American drummer Jeff ‘Tain’ Watts. Recorded in just one day, the album invites discovery through intensive exploration, with high-caliber jazz tradition as its primary inspiration. Over the course of five tracks—three original compositions by Winther and two jazz covers—the trio exudes infallible musical instinct, responding to one another with admirable tenacity and unfiltered spontaneity.

Winther’s “You Know” is pure post-bop brilliancy, its theme brimming with rhythmic intricacy and a smooth complexity that astonishes. Andersson delivers a refined bass solo over sparse drum patterns, while Winther asserts an extroverted musical personality, employing triplets to a powerful effect. The title track, “Steep Steps”, is a drum showcase at its edges, shifting from modal jazz to a swinging romp in its central section, where Andersson and Winther reveal musical languages full of spirit and color. The bassist is especially captivating with his improvisational choices and geometric motifs.

McCoy Tyner’s “Inner Glimpse” gleams with intensity and swings with abandon. Heralded by his vertiginous rhythmic drive, Watts—who collaborated with Tyner on Double Trios (1986) and Quartet (2007)—brings his exhilarating energy to the forefront. Following the explosive power of this tune is Tadd Dameron’s ballad “Soultrane”, a perfect platform for Andersson’s expressive melodicism and a continuous swirl of introspective emotion. 

The album concludes with Winther’s evolving “Turning Chapter”, a time-shifting piece where piano and bass move in tandem, with breezier currents leaning into groove over swing.

This dynamic piano-bass-drums trio is deeply rooted in tradition, yet enriched by complex overtones and fascinating compositional detail. And they never stop encouraging exploration.

Favorite Tracks:
01 - You Know ► 02 - Inner Glimpse ► 04 - Steep Steps

Joe Lovano - Homage

Label: ECM Records, 2025

Personnel - Joe Lovano: tenor saxophone, tarogato, gongs; Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

Homage marks the sophomore recording collaboration between leading American saxophonist Joe Lovano and the exceptionally notable Polish trio led by pianist Marcin Wasilewski—featuring the ultra-melodic Slawomir Kurkiewicz on bass and Michal Miskiewicz on drums. The four have cultivated a formidable sound and easygoing simpatico, layering harmonies and effortless rhythmic pulses that shape their deeply personal storytelling.

The program includes five Lovano compositions—including two improvised miniatures (one featuring solo saxophone and the other, gongs and percussion)—alongside a rendition of the ballad “Love in the Garden” by Polish violinist Zbigniew Seifert. The quartet opens with this piece, a rubato effort steeped in sophistication and delicacy, as velvety saxophone glides over introspective piano comping. One can sense a blend of Keith Jarrett, Charles Lloyd, and John Abercrombie in a dazzling musical dialogue that radiates talent and musicianship. 

The standout moments are two strikingly beautiful long-form compositions where ideas are shaped and refined with natural grace. The modal meditation “Golden Horn” begins with rattling percussion—eventually expanding into sparkling cymbals—as bass and piano embark on a shared journey. A simple groove recalling the metric feel of Coltrane’s “A Love Supreme Part I: Acknowledgement” is laid down, and Lovano, ducking in and out of the form with crispness and agility, slowly cooks a great solo with enough spice to put water in our mouths. Following Wasilewski’s fluid storytelling, Lovano switches to tarogato, his lines skittering and dancing to create a hypnotic, Eastern-tinged atmosphere. “This Side-Catville” finds the ensemble in polyrhythmic communion from the outset, playing with contrasting textures and intensities. Graceful chord progressions support an authoritative tenor statement that spreads like wind and warms like sunlight. The tune culminates in an enchanting, almost mystical aura that gently settles into a measured final theme.

“Homage”, Lovano’s dedication to ECM founder and record producer Manfred Eicher, leans into flexible avant-garde expression, promoting improvisational freedom across key shifts. In fact, Homage, the album, is a tribute to all those who inspired Lovano to embrace his true self without reservation: his wife Judi Silvano, his 100-year-old father, Tony ‘Big T’ Lovano, and the above-mentioned Eicher are some of them. Emotional connection and musical brilliance are in abundant supply.

Favorite Tracks:
01 - Love in the Garden ► 02 - Golden Horn ► 05 - This Side-Catville

Seungmin Jung - Anecdotes

Label: Self released, 2025

Personnel - Tal Kalman: tenor saxophone; Bomin Kim: piano; Daphnis Moglia: trumpet; Johannes Ravn: guitar; Seungmin Jung: double bass; Felix Ambach: drums.

Seungmin Jung, a bassist and composer from South Korea, is a graduate of the Manhattan School of Music. For his audacious debut album, Anecdotes, he assembles a state-of-the-art sextet whose members share a close rapport, delivering engrossing compositions layered with a genuine spell - no filters or major effects needed.

The album’s opener, “Blue”, is steeped with melancholy and warmth. Inspired by the Japanese film The Tokyo Night Sky is Always the Densest Shade of Blue, Jung and his peers immerse themselves in pensive, emotional tenderness, following a disentangled melody delivered by the horn players. Although sleek and steady with an elegiac drift, the piece is abundantly graced by Jung—more concerned with honest expression than technical showmanship—and Daphnis Moglia’s trumpet statement, filled with both poignancy and celestial brightness. 

Jung penned “Three Black Beans and a Boy” with his dog in mind. His intro is dark and beautiful in tone, unfolding like a modal prayer with moments of breathtaking suspension and soothing release. The initial subtlety expands into a hard-swinging motion—cooked in the company of drummer Felix Ambach—serving as a backdrop for a folksy, chanting saxophone solo by Tal Kalman, a piano discourse delivered with abandonment by Bomin Kim, and a fragmented-turned-fluid guitar statement by Johannes Ravn. Ultimately, Moglia provides resolution, guiding us into a final prayerful section.

Ambach uses brushes for softness in “From the Middle of the Night”, contributing to the tenderly painted scenery that welcomes inspiring unison lines from saxophone and trumpet. The groovy “Wasteland” is performed in a piano-less saxophone trio format, showcasing dancing bass lines in consonance with the convincing drumming, over which Kalman extemporizes, occasionally locking in tightly with the bass.

“Acadia” has a distinct temperament, beginning as a lush, sweeping 3/4 composition before morphing into a breezy 4/4 passage that emits even more joy and wonder. Inspired by a trip Jung took with his parents to Acadia National Park in Maine, the piece interlaces complementary ideas, concluding with an odd-metered beat cycle pinned by a catchy riff. The album closes on a contemplative note with “Firefly”.

Jung imbues each composition with rich textures and melodies that feel deeply personal. The imagery evoked is vivid, revealing a composer of bristling vitality and generous spirit. Anecdotes is a striking surprise—sonic adventures that begin in the ear but end at the soul. The artist and his work deserve to be discovered.

Favorite Tracks: 
02 - Three Black Beans and a Boy ► 04 - Wasteland ► 05 - Acadia

Stefano Rocco Quartet - Wildlife

Label: Self released , 2025

Personnel - Stefano Rocco: guitar; Nick Southcott: piano; Muhamed Mehmedbasic: double bass; Ed Rodrigues: drums.

Italian-born, Sydney-based cross-genre guitarist and composer Stefano Rocco presents his sophomore album, Wildlife, alongside his faithful quartet (formed in 2019), featuring pianist Nick Southcott, double bassist Muhamed Mehmedbasic, and drummer Ed Rodrigues. He describes this new body of work as ‘an expedition through the animal kingdom’, showcasing a charismatic musical aesthetic shaped by various jazz currents.

The title track, “Wildlife”, is smartly sculpted in a triple meter, featuring a harmonically rich treatment and a forward-looking, well-paced melody. Arpeggiated piano passages lend it a dreamy aura before it abruptly shifts into a driving 4/4 hard-bop swing. The subsequent track, “Cat Walk”, dabbles in smooth crossover jazz reminiscent of Michael Franks and George Benson, with feel-good solos from Rocco—who delivers fine bluesy chops—and Southcott.

While “Coral Reef” thrives on shifting tempos and guitar riffing in a soulful post-bop context that reminds us the initial phase of Pat Metheny Group, the playful yet assertive “Elephant Stomp”, propelled by Rodrigues’ marching snare, ventures into the soul jazz realm of Kenny Burrell and Grant Green. A wild bass solo emerges from the middle passage, while Latin-tinged piano flourishes subtly color the piece.

“Owl’s Flight” reflects Rocco’s modern compositional approach, while “Dreamy Koala” sets a warm, inviting tone with crisp storytelling, highlighted by guitar harmonics and delicately paired piano notes that, while not explosive, are deeply satisfying. The album closes with “Is It You Chameleon”, a waltzing ballad that gradually intensifies and wins us over with its melodic trajectories.

Rocco’s musical tastes are both complex and unexpected, and the album’s arrangements reflect his refined artistry. The chemistry and commitment of his quartet are palpable, and the favorable impression is further enhanced by the fact that these musicians never resort to pyrotechnics to impress. 

Favorite Tracks:
02 - Cat Walk ► 05 - Coral Reef ► 06 - Elephant Stomp

Branford Marsalis Quartet - Belonging

Label: Blue Note Records, 2025

Personnel - Branford Marsalis: tenor and soprano saxophone; Joey Calderazzo: piano; Eric Revis: bass; Justin Faulkner: drums.

It’s arguable whether an essential record like Belonging (ECM, 1974) by the great pianist Keith Jarrett truly needs a full reinterpretation, but saxophonist Branford Marsalis takes on the challenge without straying far from the original themes and feel. If anyone is equipped to explore Jarrett’s legacy, it’s certainly Marsalis, joined here by his stellar working quartet—pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner.

A strong sense of empathy permeates the ensemble, and they deliver a dazzlingly kinetic take on “Spiral Dance”, highlighted by exceptional solos from Calderazzo, flawless in both intonation and phrasing, Marsalis, who thrives in motifs and chromatic shifts, and Revis, who sings out melodies with breathtaking beauty. “Long As You Know You’re Living Yours” feels like a jazz-folk-infused pop song, enriched with bluesy elegance. The piece receives special treatment here, building into an intense crescendo fueled by Marsalis’ fiery saxophone lines, which flow with remarkable fluidity. Calderazzo, too, impresses, navigating harmonic turns with nuanced detail.

Another tour de force, “The Windup”, carries the lively spirit of a country-folk parade, tinged with playful burlesque and manic intensity. Marsalis is at his most animated, his vigorous playing recalling the soulful explosions of Kenny Garrett. The rubato ballads “Blossom”, “Belonging”, and “Solstice” round out the program, painting sonic landscapes of longing and serenity.

This sharply focused quartet brings ample vision and improvisatory flair to every track, making for a bold yet rewarding venture. In a record that carries undeniable risk, Marsalis and his band ultimately pull off a gutsy triumph. He dedicates the album to the memories of recently departed jazz luminaries Benny Golson, Lou Donaldson, Roy Haynes, and Russell Malone.

Favorite Tracks:
01 - Spiral Dance ► 03 - Long As You Know You’re Living Yours ► 05 - The Windup

Petros Klampanis - Latent Info

Label: Enja, 2025

Personnel - Kristjan Randalu: piano; Petros Klampanis: bass, electronics; Ziv Ravitz: drums.

The versatile Greek bassist Petros Klampanis embraces the classic piano trio in his new outing, Latent Info, a heartfelt tribute to all that lingers unseen, concealed in a latent state. Joined by Estonian pianist Kristjan Randalu and Israeli drummer Ziv Ravitz, Klampanis, inspired in part by the vision, scent, and vastness of the sea, navigates emotional landscapes with warmth and unwavering stability.

“Over the Calypso Deep” opens the album beautifully, evoking serene imagery through a mesmerizing 20-beat cycle bass groove, understated yet fluid percussion, and a blend of idyllic and dreamlike pianism. Klampanis’ narration conjures vivid, picturesque settings. The trio weaves seamlessly integrated sonic tapestries, a quality evident in the title track, “Latent Info”. Here, inner emotions take shape through a perceptible rhythm, unobtrusive electronics, luminous harmonies, and delicate nuances.

While “Stenahória” radiates a sense of openness, its lyrical theme gently pulsing with a hypnotic, vamp-like motion, “Menérbes” unfolds like a lullaby, wrapped in ambient electronics and a rich, rounded tone. There’s ample room to breathe—an element also present in “Day Breaks”, a meditative piece featuring guest trumpeter Andreas Polyzogopoulos and Ravitz’s supple brushwork. Throughout the album, pianist and drummer often provide a velvety cushion on which Klampanis’ introspective melodic musings can rest.

Preceding “Falling Grace”, a temperate bass-drums dance, is “When I Know the Answer”, where hints of gospel and pop influence shine through its shimmering brightness. Randalu stands out here with a particularly thoughtful improvisation.

This trio exudes an organic unity, conveying the effortless sensation that everything falls naturally into place. As he etches the next chapter of his musical journey with poetic refinement, Klampanis proves to have a pure voice as a bassist and composer.

Favorite Tracks:
01 - Over the Calypso Deep ► 04 - Menérbes ► 05 - When I Know the Answer

Artemis - Arboresque

Label: Blue Note Records, 2025

Personnel - Ingrid Jensen: trumpet; Nicole Glover: tenor saxophone; Renee Rosnes: piano; Noriko Ueda: bass; Allison Miller: drums.

The acclaimed all-female quintet Artemis, assembled in 2016 to celebrate International Women’s Day with live performances in Europe, returns with their third album for the Blue Note label. On Arboresque, they explore themes of nature and beauty across eight consistently engaging tracks. Having developed remarkable artistic chemistry, each member contributes an original composition to a program that is rounded out by three thoughtfully arranged jazz covers. 

Remaining just as tactile and cohesive as ever, the group starts off with “The Smile of the Snake”, a composition by pianist/producer Donald Brown (who worked with Kenny Garrett), impeccably arranged by the ensemble’s musical director, pianist Renee Rosnes. Following the theme’s stealthy steps and sultry contortions, trumpeter Ingrid Jensen and saxophonist Nicole Glover deliver commanding solos, briefly overlapping in an unexpected but electrifying moment. Their playing highlights a fluent and typically inventive discourse.

With a strong emphasis on texture and mood, “Komorebi”, penned by Japanese bassist Noriko Ueda, flows with breezy post-bop assurance. The Japanese term refers to sunlight filtering through the leaves of a tree, a fitting inspiration for the piece’s airy and luminous feel. Glover’s “Petrishor” is a lush ballad propelled by Allison Miller’s soft brushwork. The drummer, often infusing buoyancy and dynamism from behind the kit, contributes “Little Cranberry”, a mellifluous tribute to the little island in Maine.

Wayne Shorter’s “Footprints” is reimagined at a faster tempo, sparking a thrilling sense of discovery through Rosnes’ fantastic arrangement, which features stunning solos, dramatic bar trades, and tight-knit interplay. Rosnes, who arranged all three covers with her signature elegance, also shines on Burt Bacharach and Hal David’s “What the World Needs Now is Love”. This 3/4 incantation is infused with harmonic nuances inspired by the late pianist Mulgrew Miller.

Jensen’s “Sights Unseen” is gorgeously orchestrated with a rich sense of elasticity, its groovy harmonic foundation anchored by expansive Rhodes textures and a vibrant swing feel. Meanwhile, in Rosnes’ “Olive Branch”, the pianist the pianist weaves in Brazilian rhythms and tonal colors, drawing from the inspirations behind her latest album, Crossing Paths (Smoke Sessions, 2024).

Arboresque is made of masterfully placed elements that intensify the compositions’ contagious vibes, cementing its place as a cherished addition to Artemis’ formidable catalog.

Favorite Tracks:
01 - The Smile of the Snake ► 03 - Sights Unseen ► 05 - Footprints

Boyce Justice Griffith - The Point

Label: Outside in Music, 2025

Personnel - Boyce Justice Griffith: tenor and soprano saxophone; Anthony Harvey: trumpet; Isaiah J. Thompson: piano; Marty Jaffe: bass; John Sturino: drums.

The Point is the latest release from saxophonist and composer Boyce Justice Griffith, featuring the same unit that shaped Turning In, his previous outing. With this conceptual work, Griffith urges listeners to seek truth by returning to their core values.

“The Two Fish” demonstrates a firm grasp of modal jazz, echoing with longitudinal bass conduction and enhanced with prayerful soprano sax lines articulated with heart, soul, and range. This opening track is rivaled only by the title cut, which appears in four different versions, each evoking a peculiar atmosphere. “The Point-Part One” features expressive unison melodies within a post-bop frame, imbued with enough swing to buoy trumpeter Anthony Harvey’s solo. “The Point-Part Two” occurs in the classic piano trio format—with pianist Isaiah J. Thompson giving it a modal intonation leveled by the lilting flow of bassist Marty Jaffe and drummer John Sturino. In “The Point-Part Three”, Griffith is at the helm of melody, delivering an exuberant improvisation.

In a compulsory swing, “The State of Being” is an uptempo hard-bop-infused piece that pays honor to the vibrant energy of the 1950s. Another clear nod to the genre comes in “Something to Prove”, where the swaggering main statement launches into an improvisational excursion featuring sinewy solos from the front-line players, followed by the pianist. The group cools the fire with “The Walk,” but its majestic horn-driven theme still inspires steamy solos.

Griffith’s compositional strategies are efficiently assimilated by his associates, and in “Balrog”—a reference to Tolkien’s Lord of the Rings—it’s Jaffe who begins and ends the journey with his muscular, blues-inflected pizzicato. Before his solo, a 4/4 modal sequence heats the soul with its intensity. The album would not be complete without “Isolation”, a ballad motivated by heavy snowfall, where the gravitas of bowed bass contrasts with high-pitched soprano flights.

With life’s purpose and direction at its core, The Point finds Griffith commanding his sound with narrative straightforwardness, eschewing any type of shrieks or wild cheers. It is a grounded, thoughtful album that reflects his deep passion for jazz in both its traditional and modern forms.

Favorite Tracks:
01 - The Two Fish ► 07 - The Walk ► 09 - The Point-Part Three

Billy hart Quartet - Just

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano; Ben Street: bass; Billy Hart: drums.

The playing of legendary drummer Billy Hart is distinguished by virtuosic, breezy textures and a refined elegance that imbues the music a graceful, rare dimensionality. His pliable quartet—with saxophonist Mark Turner, pianist Ethan Iverson, and bassist Ben Street—was formed in 2003, crafting a sound that blends and dissolves elements like watercolors. Just marks the quartet’s third ECM release, following All Our Reasons (2012) and One is the Other (2014).

Iverson’s “Showdown" emerges as a warmhearted ballad, full of gracious gestures and excellent note choices in Turner’s expressive statement. Iverson both initiates and gracefully concludes the piece with wisdom. The pianist also contributes the following pieces: “Aviation”, whose heroic vibe doesn’t hide a fine fusion of classical and jazz elements as well as a lilting motion delivered with aeronautical skills; “Chamber Music”, which is brushed with sophistication by Hart—a true colorist who likes to explore beyond the obvious; and “South Hampton”, a bluesy, bop-inflected number featuring an elucidated bass-piano drive, an absorbing tenor solo, and well-placed drum fills that heighten the tension and release.

Hart revisits his own “Layla-Joy”, first recorded on his 1977 album Enhance, reimagining it with mallets and cymbals in a balladic form, punctuated by moments of suspended abstraction. Another revived composition, “Naaj”, is an intriguing, tuneful piece showcasing Iverson’s first-class piano work. With flexible attacks, he draws both from tradition and progression. The title track, “Just”, unfolds as a fresh post-bop excursion, marked by enigmatic chordal manipulations and engaging rhythmic dynamics.

Turner, a saxophonist of exceptional resourcefulness and ingenuity, contributes three compositions of his own. “Billy’s Waltz” exudes a charming appeal, while “Bo Brussels”—previously recorded on his 1998 album In This World—drifts through suspensions and cinematic atmospheres, never feeling static. In turn, “Top of the Middle” is characterized by a splendid interplay and driving post-bop force.

While Just may not be a revelatory departure for the quartet, it is undeniably filled with moments of brilliance, where the musicians' collective artistry shines. A few tracks even serve as soothing balms for the soul.

Favorite Tracks:
05 - South Hampton ► 06 - Just ► 08 - Bo Brussels

Frank Carlberg - Dream Machine

Label: Red Piano Records

Personnel - Frank Carlberg: piano, Fender Rhodes; Hery Paz: tenor saxophone; Leo Genovese: Hammond B3, Farfisa organ, synths; John Hébert: bass; Dan Weiss: drums.

Frank Carlberg, a Finnish jazz pianist and composer of remarkable talent, unveils Dream Machine, a stellar album that encapsulates his unique ability to unify diverse musical elements into a cohesive whole. Continuing to expand the boundaries of his art form, Carlberg assembles a sensational new quintet of New York-based artists featuring the breathtaking Cuban-born saxophonist Hery Paz, the sublime Argentine keyboardist Leo Genovese, the steadfast French bassist John Hébert, and the enlightened American drummer Dan Weiss.

Among the album’s 13 compositions, four are ‘Dream’ pieces, inspired by literature, cinema, magic shows, and other artistic experiences. Fueling creativity and discovery, “Dream I” thrives on conscious pulsation and spatial glitches, while “Dream II” embraces a freer, improvisatory nature. “Dream III” surges with invigorating thrust and robust tenor saxophone playing. 

Paz, an authority on tenor saxophone, demonstrates an impeccable command of every note he plays. He shines in “The Jester”, a motif-driven piece delivered with melodic accentuation, humor, and rhythmic agility, where his interplay with Carlberg and Genovese is nothing short of immaculate. He also excels on “Reconstruction”, igniting powerful bursts of sound in an avant-garde jazz setting that emerges from an initial swinging momentum set by bass and drums. Genovese contributes a fusion-leaning solo, complemented by Carlberg’s intuitive piano accompaniment. Weiss takes the spotlight with an unaccompanied improvisation before the theme’s return, infused with Monk-like angularity.

Inspired by the dreams, anxieties, and thoughts of David Zimmer—the protagonist of Paul Auster’s The Book of Illusions—“Zimmer’s Dream” is pure modern creativity highlighted by outstanding saxophone and drums. Weiss uses brushes and drumsticks in the exquisite post-bop-meets-gospel “Into the Sunset”, scraping tones off the drum surfaces with finesse, while Hébert early infuses “Nostalgia” with his bass meditations before calm sax-piano unisons emerge. “Search and Rescue” showcases superior interplay, segueing into “Light Matter”, a no-friction idea that gradually intensifies, exploring the limits.

A testament to Carlberg’s prowess as a composer and arranger, Dream Machine brims with thrilling, virtuosic moments—both in individual improvisations and the collective synergy of the ensemble. It stands as one of his finest works in years.

Favorite Tracks:
03 - The Jester ► 05 - Dream II ► 06 - Reconstruction ► 09 - Zimmer’s Dream

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

John Patitucci - Spirit Fall

Label: Edition Records

Personnel - John Patitucci: acoustic and electric bass; Chris Potter: tenor and soprano saxophone; Brian Blade: drums.

Spirit Fall marks a virtuosic and high-energy album from bassist and composer John Patitucci, who leads an irresistible all-star New York trio featuring saxophonist Chris Potter and drummer Brian Blade. Together, they infuse nine Patitucci originals and one cover with their distinct creative flair.

In the wickedly inventive opener, “Think Fast”, the trio propels the music forward, embracing a lively atmosphere brimming with humor and groove. Potter, a fearless improviser, seamlessly blends folk and post-bop elements with articulate, sophisticated phrasing. Patitucci’s solo stands out for its rhythmic inventiveness and magnetic note alignments, while Blade’s elegant drumming remains transparent yet propulsively engaging. The drummer collaborates closely with Patitucci on “Pole Star”, painting vivid tonal landscapes that lend the piece a palpable tactility. Here, Patitucci delivers a robust, precise bass solo, while Potter's saxophone statement stirs both energy and emotion.

“Deluge on 7th Avenue” finds the ace rhythm section crafting an infectious funky groove before settling into a 12-bar blues form. Another deliberate funk crusade is offered in “Lipim”, which means hope in the Yemba language from Cameroon. A compelling groove and constructive saxophone lines drenched in effects make it more stimulating. Less ferocious yet equally effective, their rendition of Wayne Shorter’s “House of Jade” feels both seductive and empowering, with Potter’s dramatic leaps perfectly balanced by the nearly telepathic rapport between Patitucci and Blade.

On “Thoughts and Dreams”, Patitucci demonstrates remarkable technical prowess, extracting superb intonations from his six-string electric bass. He stretches with elastic grace during the introspective, abstract opening before transitioning to a blues-inflected closing segment. The title track, “Spirit Fall”, embarks on a phenomenal modal journey filled with splendid bass guitar chords as well as searing soprano saxophone licks and exultant drum fills. In turn, “Sonrisa” astutely links contemporary jazz to Latin rhythms, maintaining fluidity while showcasing Patitucci’s deep allegiance to groove and fusion. These are pieces that resonate with profound inspiration, echoing the enduring influence of Herbie Hancock, Joe Henderson, and Chick Corea. 

Recorded in a single day, Spirit Fall is an accessible album whose tracks are layered from interesting angles, fostering unity and spiritual growth in today’s fragmented world. The trio distills their pure sounds with humanity and power, and their effort results in a thoroughly exciting and rewarding listening experience.

Favorite Tracks:
01 - Think Fast ► 02 - Pole Star ► 05 - Spirit Fall

Dayna Stephens - Hopium

Label: Contagious Music

Personnel - Dayna Stephens: tenor saxophone; Aaron Parks: piano; Ben Street: bass; Greg Hutchinson: drums.

Dayna Stephens has established himself as a prominent saxophonist and sought-after sideman. His new quartet album, Hopium—a portmanteau of the words ‘hope’ and ‘opium’—features the same ensemble that brought Right Now! Live at the Village Vanguard (2020) to success. The album comprises seven original compositions by Stephens and one by Parks.

Opening the set, “Drive North to Find the Oranges Out West” unfolds elegantly, employing melodic ambiguity and harmonic complexity to explore the uncertainties and possibilities of life's winding paths. The following track, “Jump Start”, pays homage to Herbie Hancock’s “A Jump Ahead” and stands as a spirited, successful experiment. Ben Street's pulsating bass—renewed with woody resonance every 32 bars—anchors the piece, complemented by Greg Hutchinson’s simmering drum patterns and Parks’ colorful piano voicings. Stephens delivers a free-flowing, serpentine saxophone performance that defies conventional standards. The quartet grooves with post-bop vitality, closing on a slightly sinister note.

“Trust” reveals a softer side with thoughtful, balladic statements, while the title track, “Hopium”, exudes a tango-like expressiveness, navigating the space between optimism and denial. Its rhythmic and melodic captivation culminates in an unresolved chord, symbolizing lingering doubt and cynicism. This leads seamlessly into “Occasionally Cynical”, a fluid and exploratory piece filled with ternary rhythmic fluxes and rubato passages. Stephens masterfully guides the haunting theme, spinning out coolly lyrical reflections imbued with modernity.

Before the closing track, “As Truth Rises Above Power”, which features the dynamic guitar work of guest Charles Altura, there’s Parks’ “Hard-Boiled Wonderland”, leaning into the sounds of Sam Rivers’ “Cyclic Episode” and Chick Corea’s “Humpty Dumpty”, and drawing inspiration from Haruki Murakami’s concept of alternate realities. Though the piece maintains an intentionally gentle lyrical pulse, tension subtly simmers beneath the surface.

Hopium is a different album that makes sense within Stephens’ oeuvre. Yet, it is not an immediate album. Some listeners may be disappointed by the departure from common jazz threads, while others will be captivated by the unusual colorings offered by these four resourceful musicians.

Favorite Tracks:
02 - Jump Street ► 05 - Occasionally Cynical ► 06 - Hard-Boiled Wonderland

Henrik Jensen - Above Your House

Label: Babel Label

Personnel - Henrik Jensen: double bass; Esben Tjalve: piano; Dave Smith: drums.

Danish-born bassist and composer Henrik Jensen delivers his fourth album as a leader, Above Your House. Having lived in the UK for over 20 years, Jensen transitioned from studying electric bass to mastering the double bass. His cohesive trio features longtime collaborators: Danish pianist Esben Tjalve, who recently returned to Denmark after two decades in England, and English drummer Dave Smith, who spent seven years playing with Led Zeppelin frontman Robert Plant.

The lively opener, “Blow-ins”, kicks off with a dynamic groove that immediately grabs the listener’s attention, showcasing both rhythmic resilience and strength. The track highlights Jensen’s artistry as he navigates smooth rhythmic transitions, injects harmonic color, and solos deftly over the three-time feel crafted by Tjalve and Smith. “Brain Brexit” follows a lyrical piano classicism, elegantly spread over a steady rhythmic foundation. The piece builds to a final six-beat vamp that inspires and energizes Smith to react.

In “The Hunt”, Smith’s brushwork introduces an ambiguous, exploratory texture, soon settling into a delicate 4/4 progression marked by a lilting touch. The trio shifts into a brighter mode on “The Bridge”, which favors a consonant collective articulation. Complexity and fluidity are seamlessly intertwined, with another vamp providing a platform for Jensen’s melodic depth. 

Compositions like “Last of the Dogs” feel tailored to the trio, hinting at Monk-like accentuations as it offers forward-looking melodic cruises. Less buoyant, the title track, “Above Your House”, unfolds as a ballad with sinuous unison lines from Jensen and Tjalve, complemented by Smith’s soulful brushwork.

Jensen, who continues to expand his palette as both a bandleader and composer, makes compelling moves alongside his trio. Teamwork is what really stands out here, and that’s no simple task.

Favorite Tracks:
01 - Blow-ins ► 03 - The Hunt ► 05 - The Bridge

Benjamin Lackner - Spindrift

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Mathias Eick: trumpet; Benjamin Lackner: piano; Linda May Han Oh: bass; Matthieu Chazarenc: drums.

German pianist and composer Benjamin Lackner assembled an outstanding quintet for his ECM sophomore album, Spindrift. Norwegian trumpeter Mathias Eick returns after appearing on Lackner’s debut album, Last Decade (2022), while American saxophonist Mark Turner and bassist Linda May Han Oh join as exceptional new contributors, enriching Lackner’s understated compositions with their nuanced artistry. French drummer Matthieu Chazarenc, a longtime collaborator, rounds out the group and contributes one piece to the album.

Lackner’s compositions are precisely mapped out, becoming quietly enveloping and lavishly unhurried, yet never elevated to exalted heights. There are moments of radiant beauty, like the title track, “Spindrift”, which transitions from a rubato meditation to a 7/4 rhythmic flow over which Lackner and Turner stretch out in a sheer display of finesse and delicacy.

Other highlights include Chazarenc’s spacious “Chambary”, where the horn players swoop around in tandem in a well-wrought delivery, and “Fair Warning”, which leans into enigmatic tones, built on nuanced bass pedal points and piano suspensions that provide a churning backdrop for the soloists.

Airiness and feather-like touches compose the soaring “Mosquito Flats”, introduced by tender pianism and buzzing bowed bass. Eick leads the way before dancing in unison with Turner’s saxophone, later trading a few bars of improvisation before rejoining forces and concluding in harmony. “More Mesa” retains the same melancholic introspection, weaving effortless, lyrical melodies with classical influences in the piano work, while the pseudo-cinematic “Murnau” feels more dolefully dramatic than figuratively expressionistic.

Anchored by its sensitive, subtle palette, Spindrift may not always feel exciting. It’s undoubtedly competent material whose subdued nature may leave one wishing for more intensity.

Favorite Tracks:
01 - Spindrift ► 04 - Chambary ► 07 - Fair Warning

Scott Colley / Edward Simon / Brian Blade - Three Visitors

Label: GroundUP Music

Personnel - Scott Colley: bass; Edward Simon: piano; Brian Blade: drums // Guests - Chris Potter: tenor saxophone; Becca Stevens: vocals; Jana Dagdagan: spoken word; Richard Rood: violin; Elizabeth Lim Dutt: violin; Kathryn Lockwood: viola; Sachi Patitucci: cello; Rogerio Boccato: percussion.

This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade—all celebrated for their fresh approaches to music—achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole.

The album opens introspectively with “Nostalgia”, a melancholic 3/4 piece brought to life by Blade’s richly expressive drumming, Colley’s stable foundation, and Simon’s narrative-like piano lines. Blade’s “Kintsukoroi” follows, a beautiful, heartfelt, and asymmetric ballad inspired by the Japanese art of restoring broken pottery. 

If “Ellipsis” carries an elusive Bill Evans-esque swing interwoven with exploratory modal jazz, then Colley’s “Three Visitors” nods to Ahmad Jamal, highlighted by warm, lyrical solos from bass and piano. In turn, “The Thicket” channels the inventive energy of Thelonious Monk and Misha Mengelberg, building dynamic polyrhythmic crescendos with a swinging edge. 

Simon’s “You Are” is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents. Meanwhile, “I Wanna Be With You” introduces the versatile vocalist Becca Stevens and Brazilian percussionist Rogerio Boccato in a vibrant contemporary pop tune with a colorful R&B tinge.

Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact.

Favorite Tracks:
02 - Kintsukoroi ► 03 - Ellipsis ► 04 - The Thicket